| 文物統一編號 |
故畫000465N000000000
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| 作品號 |
故畫00046500000 |
| 品名 |
明唐寅暮春林壑 軸
Late Spring in a Valley Forest |
| 分類 |
繪畫 |
| 作者 |
唐寅 |
| 數量 |
一軸 |
| 題跋類別 |
作者 |
位置 |
款識 |
書體 |
全文 |
| 作者款識 |
唐寅
印記 expand_more
|
本幅 |
逶迤十里平溪路。滴瀝三重下瀨泉。為底時來策黎（疑作藜）杖。春衣要試浴沂天。唐寅畫并題。 |
行書 |
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|
|
| 印記類別 |
印主 |
印記 |
| 收傳印記 |
王時敏 |
王時敏印 |
| 收傳印記 |
|
有明文靖世家圖書 |
| 收傳印記 |
唐順之 |
毘陵唐荊川家藏圖書記 |
| 收傳印記 |
董其昌 |
董其昌印 |
| 鑑藏寶璽 |
清內府印 |
三希堂精鑑璽 |
| 鑑藏寶璽 |
清內府印 |
石渠寶笈 |
| 鑑藏寶璽 |
清內府印 |
宜子孫 |
| 鑑藏寶璽 |
宣統帝 |
宣統御覽之寶 |
| 鑑藏寶璽 |
清仁宗 |
嘉慶御覽之寶 |
| 鑑藏寶璽 |
清仁宗 |
嘉慶鑑賞 |
| 鑑藏寶璽 |
清仁宗 |
寶笈三編 |
| 主題類別 |
主題(第一層) |
主題(第二層) |
主題說明 |
| 主要主題 |
山水 |
春景 |
|
| 主要主題 |
山水 |
瀑布 |
多重 |
| 次要主題 |
山水 |
江河、湖海 |
|
| 次要主題 |
樹木 |
杉 |
|
| 次要主題 |
樹木 |
寒林．枯樹 |
枯樹 |
| 其他主題 |
人物 |
侍從（侍女、童僕） |
童僕一人 |
| 其他主題 |
人物 |
高士（士人、隱士） |
高士三人 |
| 其他主題 |
山水 |
山徑 |
|
| 其他主題 |
山水 |
溪澗、湍泉 |
|
| 其他主題 |
建築 |
水榭 |
|
| 其他主題 |
建築 |
茅草屋 |
|
| 其他主題 |
器用 |
傢俱（屏風） |
桌凳 |
| 其他主題 |
樹木 |
竹 |
|
| 技法 |
技法細目 |
| 人物衣紋描法(粗細線條) |
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| 皴法 |
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| 皴法 |
折帶皴 |
| 皴法 |
披麻皴 |
| 類別 |
參考資料 |
| 內容簡介 |
唐寅（西元一四七○年至一五二三年）字子畏、伯虎，號六如，江蘇吳縣人。賦性疏朗，狂逸不羈，弘治戊午（西元一四九八年）舉南京解元。畫師周臣，而遠過之，為明四大家之一。 本幅畫層巖懸瀑，溪樹彎環，竹障茅亭，一人倚欄獨賞暮春景色。本幅未署年，然畫樹皴山，皆用細筆，應為四十歲左右之作。
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| 內容簡介 |
唐寅有行旅圖畫軸，枯樹叢山之中，一人負袱而行，畫樹皴山，皆用細筆。上有七言絕句：「十年行李憶關山，紈袴何堪道路難；今日酒盃歌袖畔，竟忘門外到長安」。所謂十年行李，意在長安，唐寅京華之遊，在三十歲，作行旅圖時，在十年後，故知為四十歲時作品。此畫樹枝山石，筆法皆與行旅圖極近，或是同時之作。亦有人疑此幀為摹本者，但畫之佳，直可逼近原蹟。
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| Description |
Late Spring in A Forested Valley T’ang Yin (1470-1523) Ming Dynasty This painting is very similar to T’ang Yin’s hanging scroll “The Journey”, which depicts a clump of bare trees in the mountains and a man carrying a bundle as he walks. The trees and texture strokes in the mountains of “The Journey” are treated with a meticulous brush. Above is a poem reading, “Ten years ago I set out on a journey; I was young and had no idea of the difficulties that lay ahead. Now I sit drinking wine and singing songs; I have almost forgotten the long road to the capital.” T’ang Yin’s journey of ten years before must have been his trip to the capital to take the metropolitan examinations, when he was 29 years old, and from which he returned in disgrace. Thus “The journey” was painted ten years later, in 1509. The treatment of the branches of the trees and the rocks of the mountains are very similar to “Late Spring in A Forested Valley”, perhaps indicating that the two paintings were done in the same year. Some scholars believe that this painting is a very close copy rather than an original painting, but it is very well painted and can probably stand as an authentic work.
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| Description |
Late Spring in a Forested Valley T’ang Yin (1470-1523) Ming dynasty T’ang Yin was a native of Kiangsu province. His tzu (style names) were Tzu-wei and Po-hu; his hao (sobriquet) Liu-ju. His natural temperament was casual and his behaviour known to be free of restraint and often unconventional. In 1498, he attained the highest grade in the provincial examinations. In painting, T’ang Yin studied under Chou Ch’en, but soon surpassed his teacher. He is considered as the Four Masters of the Ming dynasty. This painting depicts a late spring scene in a forested valley. The trees and the texture strokes on the mountains are treated with a meticulous brush similar to works done around 1510 when T’ang Yin was forty years old.
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| 收藏著錄 |
石渠寶笈三編（延春閣），第四冊，頁1864
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| 收藏著錄 |
故宮書畫錄（卷五），第三冊，頁341
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| 收藏著錄 |
故宮書畫圖錄，第六冊，頁349-350
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| 參考書目 |
1.江兆申，〈唐寅暮春林壑 軸〉，收入國立故宮博物院編，《吳派畫九十年展》（臺北：國立故宮博物院，1975年初版，1976年再版，1981年三版），頁303。
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本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理
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